MONACO QUADRI, collezione di francobolli MONACO PAINTINGS, stamp collection.

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MONACO QUADRI, collezione di francobolli

MONACO PAINTINGS, stamp collection.

807

MONACO QUADRI, collezione di francobolli

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Franz Reinhardt the Elder, 15 watercolors, German, 1st half of the 20th century Watercolor on paper. 15 predominantly mythologically inspired, dynamic watercolors. Each signed and partly dated (1932 - 1942). The depiction of the hero with crocodile torn and repaired, otherwise good condition. Dimensions without passepartout approx. 17 x 17 cm to 27 x 27 cm. Franz Reinhardt (1881 - 1946) was a Munich painter of Expressionism and mainly painted mythological and religious pictures. After studying at the academy (under F. v. Stuck, among others), he joined the Munich Secession. Today his works can be found in the Bavarian State Painting Collection and the Lenbachhaus. Condition: II

Estim. 1 200 - 1 800 EUR

ALEX KATZ (Brooklyn, New York, July 24, 1927). "Vincent," 1972. Lithograph on paper. Copy 50/120. Enclosed certificate from the Composition Gallery, Georgia. Signed in the lower left corner. Measurements: 38, 1 x 53,3 cm; 73,5 x 82,5 cm (frame). In this work you can see the portrait of the artist's son who was portrayed on numerous occasions by his father. In fact, in the exhibition that the Guggenheim Museum dedicated to Alex Katz, his son, now an art critic, stated, "What's interesting, you know, being a kid and being portrayed, because you just think it's something you have to do, like, 'How long do I have to pose for this?' And he's very quick at painting. So it's a painless process at all." Alex Katz born into a Jewish family in Brooklyn, in 1928 moved with his family to Queens, where. From 1946 to 1949 Katz studied at The Cooper Union in New York, and from 1949 to 1950 he studied at the Skowhegan School of Painting and Sculpture, Maine. An education that proved instrumental in his development as a painter and remains a staple of his practices today. Katz explains that painting outdoors at Skowhegan gave him a reason to dedicate his life to painting. Katz's paintings fall almost equally into the genres of portraiture and landscapes. Since the 1960s he has painted views of New York (especially his immediate surroundings in Soho), the landscapes of Maine, where he spends several months each year, as well as portraits of family members, artists, writers and leading figures in New York society. His paintings are defined by their flatness of color and form, their economy of line, and their fresh yet evocative emotional detachment. A key source of inspiration is the woodblock prints produced by the Japanese artist Kitagawa Utamaro. In the early 1960s, influenced by films, television and advertising posters, Katz began to paint large-scale paintings, often with dramatically cropped faces. Most of his works depict close-ups, showing front and back views of the head of the same figure or figures looking at each other from opposite edges of the support. Since 1951, Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions throughout the United States and internationally Katz's first solo exhibition was an exhibition of paintings at Roko Gallery in New York in 1954. In 1974, the Whitney Museum of American Art showed Alex Katz Prints, followed by a retrospective exhibition of paintings and cut-outs entitled Alex Katz in 1986. Katz has had numerous retrospectives at museums including the Whitney Museum of American Art, New York; Brooklyn Museum, New York; the Jewish Museum, New York; the Irish Museum of Modern Art, Dublin; Colby College Museum of Art, Maine; Staaliche Kunsthalle, Baden-Baden; Fondazione Bevilacqua La Masa, Venice, Centro de Arte Contemporaneo de Malaga and Saatchi Gallery, London (1998). Katz's work is in the collections of more than 100 public institutions worldwide, including the Honolulu Museum of Art, Museum of Modern Art, New York, Metropolitan Museum of Art, New York; Whitney Museum of American Art, NY; Smithsonian Institution, Washington, D .C .; Carnegie Museum of Art; the Art Institute of Chicago; Cleveland Museum of Art; the Tate Gallery, London; the Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofia, Madrid; Metropolitan Museum of Art, Tokyo; the Nationalgalerie, Berlin; and the Brandhorst Museum, Munich, among others. Attached is a certificate from the Composition Gallery, Georgia.

Estim. 8 000 - 10 000 EUR

FERRÁN GARCÍA SEVILLA (Palma de Mallorca, 1949). "Bol 16", 2005. Acrylic on canvas. Signed on the back. Provenance: Joan Prats gallery in Barcelona. Attached a label of the gallery Joan Prats. Measurements: 152 x 172 cm. In this composition of festive character, without ceasing to be conceptual and intellectual (in the line of the bulk of his pictorial experimentations), García Sevilla dialogues with the legacy of abstract expressionism and even with pointillism to hatch this heritage in chromatic supernovas. Initially linked to art theory and criticism, García Sevilla has been a professor of Fine Arts in several universities. He made his individual debut in 1972. After starting his artistic career in conceptual art, he ended up in painting and graphics, framed in the so-called postmodern art. He usually arranges well-defined figures, often anthropomorphic, on neutral backgrounds or with insistently repeated motifs. He uses rich, vivid and contrasting chromatic ranges, with a simplified language, sometimes close to primitive art. García Sevilla's enormous paintings, his forceful images, his often brutal humor, the texts that occupy part of the surface of these paintings, his expressive capacity, have become familiar to Spanish viewers as well as to those of other countries. Endowed with an imagination almost as prodigious as his will, García Sevilla is a veritable machine for producing paintings, for devouring and transforming images. All this finds its translation in the verbal plane: since his famous interview with Kevin Power, collected in the latter's book "Conversations with..." (1985), nobody doubts that García Sevilla is one of the Spanish painters who has more things to say, and who, under an appearance of improvisation and, if necessary, delirium, gives more turns to the meaning of his work. In this aspect, his case is reminiscent of that of Miró, to whom he has always shown great admiration. He has had solo exhibitions in Europe and the United States, and participated in group exhibitions in Hamburg, Vienna, Munich, St. Petersburg, Lisbon, and several Spanish cities, as well as in the Documenta in Kassel (1987) and the Biennials of Istanbul (1989) and São Paulo (1996). Among the personal exhibitions he has held in recent years are those at the Elga Wimmer Gallery in New York (1992), the Thomas Netusil Kunsthandel in Vienna (2000) and the Fúcares gallery in Madrid (2008). García Sevilla is represented at the Centre Pompidou in Paris - National Museum of Modern Art, the Reina Sofía National Museum, the MACBA in Barcelona, the Atlantic Center of Modern Art in Las Palmas, the CaixaForum in Barcelona, the Suñol Foundation, the Ico Collections Museum, the Es Baluard in Palma de Mallorca, the IVAM in Valencia, the Juan March Foundation, the Patio Herreriano Museum in Valladolid, the ARTIUM in Vitoria and the MuHKA in Antwerp.

Estim. 2 000 - 2 500 EUR

MANUEL BENEDITO Y VIVES (Valencia, 1875 - Madrid, 1963). "Grapes", 1916. Oil on canvas. Attached certificate of authenticity issued by the Manuel Benedito Foundation. Signed in the lower left corner. Measurements: 65 x 160 cm. Following the words of the Foundation about this piece; "Since he painted "The Childhood of Bacchus" during his stay at the Academy in Rome, grapes have always been a motif that Benedito was interested in. In this case, with a vegetal background of branches and vine leaves that allow a glimpse of a fully blue sky, the varieties of fruit, their different state of ripeness and the light reflected on the spherical surface of the grapes, compose a joyful frieze of color full of nuances. Painted in one of Benedito's best periods, it is a preparatory study for a painting he did not make". Benedito y Vives began his training at the San Carlos School of Fine Arts in Valencia in 1888, where he studied under the direction of Salvá y Vilá, and in 1894 he entered the workshop of Joaquín Sorolla, who would be his main teacher. Two years later he travels with him to Madrid, where he makes illustrations for "La revista moderna" and "Blanco y Negro". He obtained a pension in Rome in 1900 and, after spending four years there, he traveled through France, Belgium and Holland, taking up residence in Volendam in 1909. He cultivated the portrait, the still life, the local types and the landscape, and among his individual exhibitions stand out those celebrated in the room Amaré in 1907, and in the salons of "Black and White" in 1910. In 1918 he was appointed artistic advisor to the Royal Tapestry Factory, and in 1923 academic of the Royal Academies of Fine Arts of San Fernando (Madrid) and of Noble Arts of San Carlos (Valencia). He worked as a professor at the School of Fine Arts of San Carlos, and later of color and composition at the San Fernando School, replacing his teacher Sorolla. Later he was appointed director of the School of Fine Arts in Madrid. In 1925 he was appointed corresponding member of the Hispanic Society of America, corresponding member of the National Academy of Fine Arts of Lisbon, and in 1941 president of the board of trustees of the Sorolla Museum. After his death in 1963 the Casa-Museo Benedito was founded in Madrid. In his maturity he turned to portraiture; Alfonso XIII and Concha Piqué, among other prominent personalities of the time, posed for him. Among his awards are the first medals obtained in the National Exhibitions of Fine Arts of 1904 and 1906; and the gold medals in the Hispano-French of 1908, and in the International Exhibitions of Munich (1909), Brussels (1910), Buenos Aires (1910) and Barcelona (1911). Works by Manuel Benedito are kept in the Prado Museum, the Fine Arts Museums of Valencia, Santander, Asturias, Havana and Buenos Aires and the Hispanic Society of America (New York), among others, and in outstanding private collections such as the Jr. Sackar of Sydney. Certificate of authenticity issued by the Manuel Benedito Foundation is attached.

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